[PDF] The music of Ayser Van?in by Taylor Dawn Crawford B.M. Kansas

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by

Taylor Dawn Crawford

B.M., Kansas State University, 2017

B.S., Kansas State University, 2017

A REPORT

submitted in partial fulfillment of the requirements for the degree

MASTER OF MUSIC

School of Music, Theatre, and Dance

College of Arts and Sciences

KANSAS STATE UNIVERSITY

Manhattan, Kansas

2021

Approved by:

Major Professor

Alyssa Morris

Copyright

© Taylor Crawford 2021.

Abstract

The purpose of this report is to explore and examine select works by the Turkish four works: The Nine Muses (for solo oboe and English horn), Orient Express - Route 2 (for oboe and piano), Canto Beduino (for Baritone, oboe, and guitar), and Albatrò (for Baritone, oboe, and piano); an overview of her compositional style and salient features found throughout her works; to literature included with or alluded to in each work, as bringing life to words through music is iv

Table of Contents

List of Figures ................................................................................................................................ vi

List of Tables ................................................................................................................................ vii

Acknowledgements ...................................................................................................................... viii

Dedication ...................................................................................................................................... ix

Chapter 1 - Biography ..................................................................................................................... 1

Chapter 2 - The Nine Muses ............................................................................................................ 4

Overview ..................................................................................................................................... 4

Timeline ...................................................................................................................................... 4

Scales .......................................................................................................................................... 5

Historical and Style Analysis ...................................................................................................... 6

I. Euterpe, Muse de la poésie lyrique ..................................................................................... 6

II. Terpsichore, Muse de la danse ........................................................................................... 7

III. Melpomène, Muse de la Tragédie ..................................................................................... 8

...................................................... 9

V. Thalie, Muse de la comédie .............................................................................................. 10

......................................................................................... 10

VII. Polymnie, Muse des hymnes sacrés ............................................................................... 11

VIII. Erato, Muse de la poésie érotique et de la mime ......................................................... 12

............................................................... 13

Summary ................................................................................................................................... 14

Chapter 3 - Orient Express - Route 2 ............................................................................................ 15

Overview ................................................................................................................................... 15

Style Analysis ........................................................................................................................... 15

1. Paris Parle (Au Moulin Rouge) ........................................................................................ 15

2. Lausanne - ...................................................... 16

3. Venise - una note sul mare ................................................................................................ 19

4. À Belgrade ........................................................................................................................ 20

5. Varna ................................................................................................................................. 21

6. Istanbul - Danse .............................................................................................. 22

v

7. Istanbul - .............................................................................................. 23

Summary ................................................................................................................................... 24

Chapter 4 - Works for Baritone (Voice) and Oboe ....................................................................... 25

Canto Beduino .......................................................................................................................... 25

Historical and Style Analysis ................................................................................................ 25

Albatrò ...................................................................................................................................... 27

Historical and Style Analysis ................................................................................................ 27

Conclusion .................................................................................................................................... 29

Bibliography ................................................................................................................................. 30

Appendix A - List of Works ......................................................................................................... 33

Appendix B - Interview ................................................................................................................ 37

Appendix C - Recital Program ...................................................................................................... 43

vi

List of Figures

Figure 2: Visual timeline. ............................................................................................................... 4

Figure 3: Euterpe Form Chart ......................................................................................................... 7

Figure 4: Terpsichore Form Chart .................................................................................................. 8

Figure 5: Melpomène Form Chart ................................................................................................... 9

Figure 6: Thalie Form Chart ......................................................................................................... 10

Figure 7: Uranie Form Chart ........................................................................................................ 11

Figure 8: Polymnie Form Chart .................................................................................................... 12

Figure 9: Erato Form Chart .......................................................................................................... 12

Figure 10: Clio Form Chart........................................................................................................... 13

Figure 11: Paris Parle Form Chart ............................................................................................... 16

Ranz de Vaches ........................................................................ 17

Figure 14: Lausanne Form Chart .................................................................................................. 18

3 Morceaux Suisses ............................................................................ 18

............................................................................................................................................... 19

Figure 18: Venise Form Chart ....................................................................................................... 20

Figure 19: Typical Sarabande rhythms ......................................................................................... 21

Figure 20: Varna Form Chart ....................................................................................................... 22

Figure 21: Istanbul (Dance) Form Chart ...................................................................................... 23

Figure 22: Istanbul (Song) Form Chart ........................................................................................ 24

Figure 23: Common tango accompaniment rhythm ..................................................................... 26

Figure 24: Canto Beduino Form Chart ......................................................................................... 26

Figure 25: Albatrò Form Chart ..................................................................................................... 28

vii

List of Tables

Table 1: List of compositions for oboe ........................................................................................... 3

Table 2: Chronological completion of the muses. .......................................................................... 5

Table 3: Scales used in The Nine Muses. ........................................................................................ 6

Table 4: Scales used in Istanbul (Dance) ...................................................................................... 23

Table 5: Works for theater ............................................................................................................ 33

Table 6: Works for poetical shows ............................................................................................... 33

Table 7: Works for solo with orchestra ......................................................................................... 33

Table 8: Works for chamber ensemble ......................................................................................... 33

Table 9: Works for instrument and piano (or guitar) .................................................................... 34

Table 10: Works for solo instrument ............................................................................................ 34

Table 11: Works for piano (alphabetical) ..................................................................................... 34

Table 12: Vocal works .................................................................................................................. 35

viii

Acknowledgements

I would like to thank my major professor, Dr. Alyssa Morris, for all the wonderful support and guidance you have given me during this process and over the course of the last three years. Thank you for your teachings, kindness, flexibility, and everything else in between. I would not have made it this far without you and no words can express my deep gratitude and appreciation for all you have done. Thank you to the many other women in music who have made an impact on me during my time in this program: Dr. Rachel Dirks, Dr. Jacqueline Kerstetter, Amanda Arrington, Dr. Amy Rosine, and Andréa Banke. Your strength, wisdom, grace, and skill are a daily inspiration. Thank you to the other members of my committee and professors who assisted me over the course of my program: Dr. Frederick Burrack, Dr. Alfred Cochran, and Dr. Craig Parker. brevis, ars longa. Lastly, thank you to my cat, Thumper, for warming my lap during countless hours of research. ix

Dedication

I dedicate this report to Elizabeth Tobald, my best friend, broboe, and Sigma Alpha Iota sister. 1

Chapter 1 -

fine arts, and so she gained an interest at a young age. She began playing violin at age 12 and also a skilled pianist and accompanist. Throughout her career as a performer and composer, different areas of the fine arts. 2 a Complete Diploma with the . with Lucien Debray in Paris at the École Normale Supérieure de Musique on a French Government Scholarship. She received a Performance Diploma and a Concert License and graduated with the distinction of Conservatory, where she was awarded the Diplôme de Virtuosité with First Prize. She has also prizes from various international competitions, including the Stresa International Competition, nadda de Martigny Foundation, and Special Prize from the

International Lycéum.

and Geneva Collegium Academicum. She has played with a number of other groups and orchestras throughout Switzerland, France, Turkey, and Europe, including Sorbonne and positions, including at the Conservatoire Populaire de Musique in Geneva, and lends her expertise to a variety of Swiss, French, and Turkish conservatories and universities. She completed her first composition in 1995, with the bulk of her works being completed in the early

2000s and continues to compose today.

3

Table 1: List of compositions for oboe

Title Instrumentation Year

Trois duos 2 clarinets (or oboe & clarinet) 1995

Danze Turche* Oboe (or flute; clarinet; soprano sax), bassoon (or cello), & piano 1998

Gizem* Oboe (or flute; clarinet; saxophone;

violin), bassoon (or cello), & piano 1998 Danse boîteuse* Solo English horn (or oboe) 1998

Chanson à Mevlana* Solo oboe 2000

Prelude and Allegretto* 4 oboes (or 4 flutes; 4 clarinets; 4 violins) and piano 2001 Two Dances: Valse & La Habanera* 3 oboes (or 3 flutes; 3 clarinets; 3 violins) & piano 2001 Chants de la Terre et Réveil* Solo oboe and English horn 2002-2003

Beckettiana* Solo oboe and English horn 2003

Three Pieces for Oboe Solo Solo oboe 2003

Tango gelosia* Oboe & piano (or guitar) 2004

Les plainte* Solo oboe 2004

Alla mamma Baritone, bass, oboe, & piano 2004

Au-dessus de la mers le nuage pers Voice, violin (or oboe), & piano 2004

Voice, violin (or oboe), & piano 2004

Grands yeux dans ce visage Voice, violin (or oboe), & piano 2004

Tango gelosia Oboe and chamber orchestra 2005

The Nine Muses* Solo oboe & English horn 2004-2006 Joujou, pipi, caca, dodo Voice, oboe, & piano 2006 Tango di nostalgia Flute, oboe, clarinet, bassoon, piano 2007 Elégie & Barcarolà English horn & piano 2007 The Last Tango in Geneva English horn, oboe, violin, & piano 2008

Orient Express - Route 1* Oboe (or flute) & piano

[also for 2 instr. & piano] 2008 Orient Express - Route 2* Oboe [opt. clarinet] & piano 2008

Voice, oboe, & piano 2008

Albatrò* Baritone, oboe, & piano 2009

Voice, oboe, & piano 2010

Poeme fou and Scherzo Oboe (or violin) & piano 2011

Chanson triste et scherzo* Oboe & piano 2016

Canto Beduino* Baritone, oboe, & guitar 2016

Oboe sommerso Oboe 2017

Chorus* Oboe, clarinet, & piano 2020

La plus drole de creatures Baritone, violin (or oboe), & piano Unknown *Indicates the piece is published and available for purchase. 4

Chapter 2 -

Overview

The Nine Muses is a collection of impressions for solo oboe or English horn based on the a seminar at the University of Geneva that focused on the muses in Greek mythology. The muses were goddesses of music, song, and dance. Each sister was assigned her own attributes revolving around these themes. Most myths consider them to be the daughters of Mnemosyne, the Titan goddess of memory, and Zeus, King of the Gods. Their mother is often considered one of the three original muses, representing the oral tradition of passing down stories and music before writing was available. The muses answered to Apollo, the God of music.

Timeline

completion, along with the date. A majority of the movements were composed in Geneva, Switzerland, and the last seven were completed within forty-three days.

Figure 2: Visual timeline.

5

Table 2: Chronological completion of the muses.

Movement Date Completed Location

I. Euterpe 15 October 2004 Cordes-sur-Ciel

III. Melpomène 3 August 2005 Genève

IV. Calliope 27 June 2006 Genève

V. Thalie

VII. Polymnie 5 July 2006 Genève

VIII. Erato 7 July 2006 Istanbul

II. Terpsichore 15 July 2006 Genève

VI. Uranie 25 July 2006 Cordes-sur-Ciel

IX. Clio 9 August 2006 Paris

Scales

The Nine Muses. Most notable are the double harmonic major, Persian, and Phrygian dominant scales, all of which rely on the augmented 2nd for their unique sound. 6

Table 3: Scales used in The Nine Muses.

Name Example Based on C Degrees Intervals

Major

1 2 3 4 5 6 7 W-W-H-W-W-W-H

Natural Minor 1 2 ל3 4 5 ל6 ל

Harmonic Minor 1 2 ל3 4 5 ל6 (ם

Double Harmonic

Major 1 ל2 3 4 5 ל

Persian 1 ל2 3 4 ל5 ל

Phrygian Dominant 1 ל2 3 4 5 ל6 ל

Phrygian 1 ל2 ל3 4 5 ל6 ל

Historical and Style Analysis

I. Euterpe, Muse de la poésie lyrique

The first movement represents Euterpe, who is the muse of lyric poetry and harmony. Her considered one of the possible mothers of Rhesus, a river god.quotesdbs_dbs23.pdfusesText_29

[PDF] euterpe muse

[PDF] nom des 9 muses

[PDF] muses synonyme

[PDF] lien entre poésie et peinture

[PDF] poème inspiré d un tableau

[PDF] remise en etat logement hlm

[PDF] relogement locataire hlm

[PDF] dictée 6ème ulysse et le cyclope

[PDF] dictée ulysse et le cyclope

[PDF] le féminin des noms de métiers exercices

[PDF] féminin de intercesseur

[PDF] intercetrice

[PDF] féminisation des noms de métiers liste

[PDF] métier féminin liste

[PDF] associer chaque fonction a sa representation graphique